Joan Miró’s studio has been restored by Fundació Miró Mallorca and reopened to the public. Courtesy Photo archive Fundació Pilar i Joan Miró a Mallorca

Throughout his artistic career Joan Miró had dreamed of the perfect studio, his ideal workspace where anything was possible. Yet it wasn’t until he was 60 years old, with the help of his good friend Josep Lluís Sert, a former pupil of Le Corbusier, that he established his Mallorca studio that has now reopened after extensive restoration by Fundació Miró Mallorca.

在他的艺术生涯中，琼·米罗一直梦想着一个完美的工作室，他理想的工作空间，一切皆有可能。然而，直到他60岁时，在他的好朋友约瑟夫·卢斯·塞尔特(Josep Lluís Sert)的帮助下，他才成立了马略卡工作室，该工作室在马略卡基金会(FundacióMiróMallorca)的广泛修复后重新开放。塞尔特曾是勒柯布西耶的学生。

Miró and Sert met in Paris in the 1930s. Sert was exiled to America in 1939 where he spent the war years working in town planning. In 1953, after a year long visiting professorship at Yale, he took up the position of Dean of the Harvard School of Design. By this time, back in Europe, Miró had bought some land in the suburbs of Palma with magnificent views across the Mediterranean.

米罗和塞尔特于20世纪30年代在巴黎会面。1939年，塞特被流放到美国，在那里他花了几年的战争时间从事城市规划工作。1953年，在耶鲁大学当了一年的客座教授后，他担任了哈佛设计学院院长一职。这时，在欧洲，米罗买下了帕尔马郊区的一些土地，可以看到地中海彼岸的壮丽景色。

Artist and architect began a lengthy exchange of ideas — their joint goal, to create the longed-for dream space. The studio was to be grounded in the earth with terracotta floor tiles, but reaching for the sky with its distinctive bird-like roof.

艺术家和建筑师开始了长时间的思想交流-他们共同的目标-创造渴望的梦想空间。工作室将以陶土地砖为基础，但以其独特的鸟形屋顶向天空延伸。

Inside the restored studio. Courtesy Photo archive Fundació Pilar i Joan Miró a Mallorca

在恢复的工作室里。图片来源：FundacióPilar I琼Miróa Mallorca

The project was Sert’s first building in Europe since his exile, and he was only able to visit the site once by way of a special visa to visit his dying mother. In his absence, construction was supervised by Miró’s brother in law Enric Juncosa.

这个项目是塞特流放后在欧洲的第一栋建筑，他只能以特别签证的方式访问该地点一次，以探望他垂死的母亲。在他缺席的情况下，建筑工作由米罗的兄弟恩里克·容科萨(Enric Juncosa)监督。

Like Corbusier, Sert used a modular system that placed Miró at the centre of his design. Sliding doors brought flexibility between spaces, while skylights above brought in the magical Mediterranean light which was so important to Miró’s work. However, the most remarkable quality of this studio, which faces a south onto the sea, is that the front of the building is almost entirely solid, with only two lower windows allowing light in. The studio is a room without a view – it could not compete with the magnificent vista and, it’s only when you step outside that you engage with the setting once again.

与柯布西耶一样，塞尔特也采用了模块化系统，将米罗置于设计的中心。滑动门在空间之间带来了灵活性，而上面的天窗带来了神奇的地中海光，这对和平号的工作非常重要。然而，这间面向南临大海的工作室最显著的品质是，它的正面几乎完全是实心的，只有两扇较低的窗户允许光线进入。工作室是一间没有视野的房间-它无法与壮丽的景色相媲美，只有当你走出房间时，你才能再次参与到这一场景中来。

When Miró first moved into the studio, he was so overwhelmed that he could not paint. Yet, eventually he covered the walls with postcards and arranged found and given objects in the space before finally embarking on one of the most productive periods of his life. A private and solitary worker, Miró would meditate for days and months before making powerful and almost explosive brushstrokes on the canvas. Almost one third of his work was produced here.

当米罗第一次搬进工作室时，他不知所措，无法作画。然而，最终，他在墙上贴满了明信片，整理好了在空间里找到的物品，并给出了物品，最后，他踏上了他一生中最富有成效的时期之一。作为一名私人和孤独的工人，米罗会冥想几天或几个月，然后在画布上画出有力的、几乎是爆炸性的画笔。他的作品几乎有三分之一是在这里制作的。

The Fondation Maeght by Josep Lluís Sert. Photography: Jean-Jacques L’Héritier. © Archives Fondation Maeght

Maeght基金会，Josep Lluís Sert著。摄影：Jean-Jacques L‘Héritier。档案基金会

Miró’s dealer Aimé Maeght was so inspired by the artist and architect’s collaboration, that he decided to take the concept to its ultimate fruition, creating the Fondation Maeght designed by Sert in Saint Paul de Vence in the south of France.

米罗的经销商AiméMaeght受到了艺术家和建筑师的合作的启发，于是他决定把这个概念推向最终的成果，在法国南部的圣保罗德万斯创建了由Sert设计的Maeght基金会。

Miró last worked from the studio in the 1970s and the restoration has involved an almost forensic analysis of its last working conditions to restore the original atmosphere. Paint marks on the floor were examined to try to understand Miró’s mysterious and secret processes, while tough decisions were made to remove original unfinished canvases that littered the floor and to replace them with reproductions. Curator Patricia Juncosa Vercchierini invited artists to work in the space to bring back the atmosphere of production in the studio. §

米罗最后一次在工作室工作是在20世纪70年代，修复工作几乎是对其最后的工作条件进行了法医分析，以恢复原来的气氛。研究人员对地板上的油漆痕迹进行了检查，试图了解米罗的神秘和秘密过程，同时做出艰难的决定，要去掉地板上原有的未完成的画布，然后用复制品取代它们。馆长Patricia Juncosa Vercchierini邀请艺术家在空间工作，以恢复工作室的生产氛围。§

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